Few
bands in the history of rock & roll were riddled with as many
contradictions as the Who. All four members had wildly different
personalities, as their notoriously intense live performances
demonstrated. The group was a whirlwind of activity, as the wild Keith
Moon fell over his drum kit and Pete Townshend leaped into the air with
his guitar, spinning his right hand in exaggerated windmills. Vocalist
Roger Daltrey strutted across the stage with a thuggish menace, as bassist
John Entwistle stood silent, functioning as the eye of the hurricane.
These divergent personalities frequently clashed, but these frictions also
resulted in a decade's worth of remarkable music. As one of the key
figures of the British Invasion and the mod movement of the mid-'60s, the
Who were a dynamic and undeniably powerful sonic force. They often sounded
like they were exploding conventional rock and R&B structures with
Townshend's furious guitar chords, Entwistle's hyperactive bass lines and
Moon's vigorous, chaotic drumming. Unlike most rock bands, the Who based
their rhythm on Townshend's guitar, letting Moon and Entwistle improvise
wildly over his foundation, while Daltrey belted out his vocals. This was
the sound the Who thrived on in concert, but on record they were a
different proposition, as Townshend pushed the group toward new sonic
territory. He soon became regarded as one of the finest British
songwriters of his era, as songs like "The Kids Are Alright" and "My
Generation" became teenage anthems, and his rock opera, Tommy, earned him
respect from mainstream music critics. Townshend continually pushed the
band toward more ambitious territory, incorporating white noise, pop art
and conceptual extended musical pieces into the group's style. The
remainder of the Who, especially Entwistle and Daltrey, weren't always
eager to follow him in his musical explorations, especially after the
success of his first rock opera, Tommy. Instead, they wanted to stick to
their hard-rock roots, playing brutally loud, macho music instead of
Townshend's textured song suites and vulnerable pop songs. Eventually,
this resulted in the group abandoning their adventurous spirit in the
mid-'70s, as they settled into their role as arena-rockers. The Who
continued on this path even after the death of Keith Moon in 1978, and
even after they disbanded in the early '80s, as they reunited numerous
times in the late '80s and '90s to tour America. The group's relentless
pursuit of the dollar was largely due to Entwistle and Daltrey, who never
found successful solo careers, but it had the unfortunate side effect of
tarnishing their reputation for many longtime fans.

However,
there's little argument that at their peak, the Who were one of the most
innovative and powerful bands in rock history. Pete Townshend and John
Entwistle met while attending high school in the Shepherd's Bush area of
London. In their early teens, they played in a Dixieland band together,
with Entwistle playing trumpet and Townshend playing banjo. By the early
'60s, the pair had formed a rock & roll band, but Entwistle departed in
1962 to play in the Detours, a hard-edged rock band featuring a
sheet-metal worker named Roger Daltrey. By the end of the year, Townshend
had joined as a rhythm guitarist, and in 1963, Daltrey became the group's
lead vocalist once Colin Dawson left the band. Within a few months,
drummer Doug Sandom had parted ways with the Detours, and the group added
Keith Moon, who had previously drummed with a surf-rock band called the
Beachcombers. The Detours changed their name to the Who in early 1964. As
the group struggled to get a break, Pete Townshend attended art school,
while the remaining three worked odd jobs. Soon, the band became regulars
at the Marquee club in London, which is where Townshend first smashed one
of his guitars out of frustration with the sound system; the destruction
would become one of his performing signatures. Soon, the group cultivated
a small following, which led to the interest of manager Pete Meaden. Under
the direction of Meaden, the Who changed their name to the High Numbers
and began dressing in sharp suits in order to appeal to the style and
R&B-obsessed mod audience. The High Numbers released one single, "I'm the
Face"/"Zoot Suit," which was comprised of two songs written by Meaden.
After the single bombed, the group ditched him and began working with Kit
Lambert and Chris Stamp, two fledgling music business entrepreneurs who
had previously failed as film directors. Instead of moving the band away
from mod, Lambert and Stamp encouraged them to embrace the movement,
offering them advice on both what to play and what to wear, including
pushing the target T-shirt that became a key visual signature. The group
reclaimed the Who name and began playing a set that consisted entirely of
soul, R&B and Motown — or, as their posters said, "Maximum R&B." By late
1964, they had developed an enthusiastic mod following. At the end of
1964, the Who signed with Decca on the strength of Townshend's "You Really
Got Me" knockoff, "I Can't Explain." The group entered the studio with
producer Shel Talmy, who previously worked with the Kinks, and the single
was released to little attention in January 1965.

Once
the Who appeared on the television program Ready, Steady, Go, the single
shot up the charts, since the group's incendiary performance, featuring
Townshend and Moon destroying their instruments, became a sensation. "I
Can't Explain" reached the British Top Ten, followed that summer by
"Anyway, Anyhow, Anywhere." That fall, "My Generation" climbed all the way
to number two on the charts, confirming the band's status as British pop
phenomenons. An album of the same name followed at the end of the year,
and early in 1966, "Substitute" became their fourth British Top Ten hit.
Following "Substitute," the Who acrimoniously left Talmy, and Lambert
became the group's producer. Lambert and Stamp decided that every member
of the Who should contribute songs to the group's second album in order to
generate more revenue. Although the ploy meant A Quick One was uneven,
Lambert's presence allowed Townshend to write the title track as a
ten-minute mini-opera, an idea he would expand over the next few years.
Upon its 1966 release, A Quick One became another British hit. In America,
the group was ignored until A Quick One was retitled Happy Jack and its
title track reached the Top 40 in 1967. By that time, the group had
already eclipsed A Quick One with The Who Sell Out, a concept album
constructed as a mock-pirate radio broadcast. The album featured "I Can
See for Miles," which became the group's first Top Ten hit in America.
That year, the group also appeared at the Monterey Pop Festival. During
1968, the Who delivered their final mod single with the bizarre "Dogs." By
that time, the mod audience had declined considerably, and the single
bombed, sending Townshend into seclusion to write a rock opera about a
deaf, dumb and blind boy with a gift for pinball. As he worked on the
record, the compilation Magic Bus — The Who on Tour was released in
America. The Who returned in 1969 with the double concept album Tommy,
which was acclaimed as the first successful rock opera. The album became a
huge hit, earning positive reviews from mainstream publications as well as
underground rock magazines. Tommy climbed into the American Top Ten as the
group supported the album with an extensive tour, where they played the
opera in its entirety, including dates at the London Coliseum and the
Metropolitan Opera House in New York. In some respects, Tommy became too
successful, since it soon overshadowed the Who themselves; it was
performed as a play across the world and would eventually be filmed by Ken
Russell in 1975 (the movie starred Roger Daltrey) — plus, in 1993,
Townshend turned it into a Broadway musical with director Des McAnuff.
While the legacy of Tommy would prove formidable, in 1970 Townshend was
stumped about how to follow it up. As he worked on new material, the group
released Live at Leeds in 1970, as well as the single "The Seeker." The
following year a singles collection called Meaty, Beaty, Big and Bouncy
was released. Eventually, he settled on a sci-fi rock opera called
Lifehouse, which he intended to be strongly influenced by the teachings of
his guru, Meher Baba. Townshend also intended to incorporate electronics
and synthesizers on the album, pushing the group into new sonic territory.
The remainder of the Who weren't particularly enthralled with Lifehouse,
claiming not to understand its plot, and their reluctance contributed to
Townshend suffering a nervous breakdown.

Once
he recovered, the group picked up the pieces of the now-abandoned
Lifehouse project and recorded Who's Next with producer Glyn Johns.
Boasting a harder, heavier sound, Who's Next became a major hit, and many
of its tracks — including "Baba O'Riley," "Bargain," "Behind Blue Eyes,"
"Won't Get Fooled Again" and Entwistle's "My Wife" — became cornerstones
of album-oriented FM radio in the '70s. The success of Who's Next prompted
Townshend to attempt another opera. This time, he abandoned fantasy in
order to sketch a portrait of a '60s mod with Quadrophenia. As he wrote
the album in 1972, he released Who Came First, a collection of private
recordings and demos he made for Meher Baba. Around that time, Entwistle,
frustrated at his lack of songwriting input in the Who, began his own solo
career, pursuing his with more dedication than Townshend. Quadrophenia was
released as a double album in 1973, and although the band attempted to
play the music on tour, technical difficulties prevented them from doing
so. The Who began to fragment after the release of Quadrophenia, as
Townshend began to publicly fret over his role as a rock spokesman; in
private, he began sinking into alcohol abuse. Entwistle concentrated
heavily on his solo career, including recordings with his side projects Ox
and Rigor Mortis, as Daltrey alternately pursued an acting career and solo
recordings. Moon, meanwhile, continued to party, celebrating his substance
abuse and eventually releasing the solo album Two Sides of the Moon, which
was studded with star cameos. During this hiatus, the group released the
rarities collection Odds and Sods. Meanwhile, Townshend continued to work
on songs for the Who, resulting in the disarmingly personal The Who by
Numbers in 1975. The record and its accompanying tour became a hit, but
following the tour's completion, they officially took an extended hiatus.
The Who reconvened in 1978 to release Who Are You. Instead of responding
to the insurgent punk movement, which labeled the Who as has-beens, the
album represented the group's heaviest flirtation with prog rock since
Quadrophenia. The album became a huge hit, peaking at number two in the
American charts and reaching platinum. Instead of being a triumphant
comeback, though, Who Are You became a symbol of tragedy, since Keith Moon
died of a drug overdose on September 7, 1978, mere months after the
record's release.

Since
Moon was such an integral part of the Who's sound and image, the band had
to debate whether continuing on was a wise move. Eventually, they decided
to continue performing, but all three surviving members would later claim
that they felt the Who ended with Moon's death. Hiring Kenny Jones, a
former member of the Small Faces, as Moon's replacement, as well as
keyboardist John "Rabbit" Bundrick to round out the lineup, the Who began
working on new material in 1979. Before they released a new record, they
released the live documentary The Kids Are Alright and contributed music
to Franc Roddam's cinematic adaptation of Quadrophenia, which starred Phil
Daniels. The Who began touring later in 1979, but the tour's momentum was
crushed when 11 attendees at the group's December 3, 1979 concert at
Cincinnati's Riverfront Coliseum were trampled to death in a rush for
choice festival seating. The band wasn't informed of the incident until
after the concert was finished, and the tragedy deflated whatever goodwill
they had. Following the Cincinnati concert, the Who slowly fell apart.
Townshend became addicted to cocaine, heroin, tranquilizers and alcohol,
suffering a near-fatal overdose in 1981. Meanwhile, Entwistle and Daltrey
soldiered on in their solo careers. The band reconvened in 1981 to record
and release Face Dances, their first album since Moon's death. The album
was a hit but received mixed reviews. The following year, they released
It's Hard and embarked on a supporting tour billed as their farewell to
fans. The live Who's Last was released in 1984 as a commemoration of the
tour. The farewell tour didn't turn out to be the final goodbye from the
Who. While Entwistle and Daltrey slowly faded away, Townshend continued
recording to relative success. However, the Who still haunted him. The
group reunited to play Live Aid in 1985, and three years later, they
played a British music awards program. In 1989, Townshend agreed to
reunite the band, with Jones being replaced by session drummer Simon
Phillips, for a 25th anniversary tour of America. Whatever goodwill the
Who had with many fans and critics was squandered on that tour, which was
perceived as simply a way to make a lot of money. The Who reunited again
in 1994 for two concerts to celebrate Roger Daltrey's 50th birthday.
Following the success of his Broadway adaptation of Tommy, Townshend
decided to revive Quadrophenia in 1996, reuniting the Who to perform the
piece at the Prince's Trust concert in Hyde Park that summer. The Who
followed it with an American tour in the fall, which proved to be a
failure. The following summer, the Who launched an oldies tour of America
which was ignored by the press. In October 2001, they played the Concert
for NYC benefit for families of the victims of the Sept. 11 attacks. In
late June, 2002, The Who had once again regrouped and were about to kick
off a North American tour when John Entwistle died at the age of 57 in Las
Vegas' Hard Rock Hotel.

Your love is hard and fast
Your love will always last
If it's you I need
I've got to pay the levy
Got to pay
'Cause your love's too heavy on me

And it's much too much to bear

If I ever leave you darlin'
I hope you see
That I really love you
But your love's too heavy on me

And it's much too much to bear

When I make love to you
Do all the things you want me to do
You never think of me
Always cry a bevy
Bevy of tears
'Cause your love's too heavy on me

And it's much too much to bear

There was a time I could give all I had to you
But my enthusiasm waned and I can't bear the pain
Of doing what I don't want to do

Much too much to bear

Your love is hard and fast
Your love will always last
If it's you I need
I've got to pay the levy
Got to pay
'Cause your love's too heavy on me

And it's much too much to bear

My
Generation
People try to put us d-down (Talkin' 'bout my generation)
Just because we get around (Talkin' 'bout my generation)
Things they do look awful c-c-cold (Talkin' 'bout my generation)
I hope I die before I get old (Talkin' 'bout my generation)

People try to put us d-down (Talkin' 'bout my generation)
Just because we g-g-get around (Talkin' 'bout my generation)
Things they do look awful c-c-cold (Talkin' 'bout my generation)
Yeah, I hope I die before I get old (Talkin' 'bout my generation)

I don't mind other guys dancing with my girl
That's fine, I know them all pretty well
But I know sometimes I must get out in the light
Better leave her behind with the kids, they're alright
The kids are alright

Sometimes, I feel I gotta get away
Bells chime, I know I gotta get away
And I know if I don't, I'll go out of my mind
Better leave her behind with the kids, they're alright
The kids are alright

I know if I go things would be a lot better for her
I had things planned, but her folks wouldn't let her

I don't mind other guys dancing with my girl
That's fine, I know them all pretty well
But I know sometimes I must get out in the light
Better leave her behind with the kids, they're alright
The kids are alright

Sometimes, I feel I gotta get away
Bells chime, I know I gotta get away
And I know if I don't, I'll go out of my mind
Better leave her behind with the kids, they're alright
The kids are alright

Baby, you know you broke my heart when you went away (You don't have to go)
I said, I said, I said I'll see you some other day (You don't have to go)
I said, baby, baby, please, don't go (You don't have to go)
Don't go, no baby, no baby
I love you so (You don't have to go)

Take this pain from my heart

Baby, let me take you by the hand (You don't have to go)
Baby, baby let me, let me be your lover man (You don't have to go)
Baby please, baby please don't go (You don't have to go)
Don't go, I said baby, don't baby
I love you so (You don't have to go)

Don't go and hide
Yesterday you were my girlfiend
If you do
My inside goes around and around in a whirlwind

There's a stone in my shoe
So I can't catch you up
My head's in a lion's mouth
Wants to eat me up
Right here today
Don't look away
I've always been true
And I still love you
So don't look away
There's a lot you can do
To get me away
You've got to stay
Don't look away
Don't look away

I once heard you say
If I ever was down you would help me
Now my head's being chewed up
You pretend that you don't see

There's a stone in my shoe
So I can't catch you up
My head's in a lion's mouth
Wants to eat me up
Right here today
Don't look away
I've always been true
And I still love you
So don't look away
There's a lot you can do
To get me away
You've got to stay
Don't look away
Don't look away

I've always been true
And I still love you
So don't look away
There's a lot you can do
To get me away
You've got to stay
Don't look away
Don't look away
Don't look away
Don't look away
Don't look away

Once upon a time there lived an old miser man
By the name of Silas Stingy
He carried all his money in a little black box
Which was heavy as a rock
With a big padlock
All the little kids would shout
When Silas was about

Silas didn't eat, which was just as well
He would starve himself for a penny
He wore old clothes and he never washed
'Cause soap cost a lot
And the dirt kept him hot
All the little kids would shout
When Silas was about

(chorus)

In the back of his head
Was a voice that said
"Someone will steal it all
You'll be lying in the gutter with an empty box
The thieves will be having a ball"

(chorus)

He bought a safe to put the box in
And a house to put the safe in
And a watchdog on a chain to make quite sure
And his face was very funny
When he counted up his money
And he realized he hadn't any more

You take away the breath I was keeping for sunrise
You appear and the morning looks drab in my eyes
And then again I'll turn down love
Having seen you again
Once more you'll disappear
My morning put to shame

You take away the breath I was keeping for sunrise
You appear and the morning looks drab in my eyes
And then again I'll turn down love
Having seen you again
Once more you'll disappear
My morning put to shame

Sometimes I fear that this will go on my life through
Each day I spend in an echoed vision of you
And then again I'll turn down love
Remembering your smile
My every day is spent
Thinking of you all the while

The times I've let myself down
My head's spinning 'round
My eyes see only you
The chances I've lost
Opportunities tossed
Away and into the blue

You take away the breath I was keeping for sunrise
You appear and the morning looks drab in my eyes
And then again I'll turn down love
Having seen you again
Then again you'll disappear
My morning put to shame

I've got a feeling twenty one
Is going to be a good year.
Especially if you and me
See it in together.

Father:

So you think 21 is going to be a good year.
It could be for me and her,
But you and her-no never!
I had no reason to be over optimistic,
But somehow when you smiled
I could brave bad weather

Mother:

What about the boy?
What about the boy?
What about the boy?
He saw it all!

Mother and Father:

You didn't hear it
You didn't see it.
You won't say nothing to no one
ever in your life.
You never heard it
Oh how absurd it
All seems without any proof.
You didn't hear it
You didn't see it
You never heard it not a word of it.
You won't say nothing to no one
Never tell a soul
What you know is the Truth.

Did you ever see the faces of children
They get so excited.
Waking up on christmas morning
Hours before the winter sun's ignited.
They believe in dreams and all they mean
Including heavens generosity.
Peeping round the door
To see what parcels are for free
In curiosity.

And Tommy doesn't know what day it is.
Doesn't know who Jesus was or what praying is.
How can he be saved?
From the eternal grave.

Surrounded by his friends he sits so silently,
And unaware of everything.
Playing poxy pin ball
Picks his nose and smiles and
Pokes his tongue at everything.
I believe in love
But how can men who've never seen
Light be enlightened.
Only if he's cured
Will his spirits future level ever heighten.

And Tommy doesn't know what day it is.
Doesn't know who Jesus was or what praying is.
How can he be saved?
From the eternal grave.
Tommy can you hear me?
Tommy can you hear me?
Tommy can you hear me?
How can he be saved?

Tommy:

See me, feel me
Touch me, heal me.
See me, feel me
Touch me, heal me!

Tommy can you hear me?
Tommy can you hear me?
Tommy can you hear me?
How can he be saved?

Were on our own cousin,
all alone cousin.
Let's think of a game to play
Now the grownups have all gone away.
You won't be much fun
being blind deaf and dumb
But I've no one to play with today.
D'you know how to play hide and seek?
To find me it would take you a week,
But tied to that chair you won't go anywhere
There's a lot I can do to a freak.
How would you feel if I turned on the bath,
Ducked your head under and started to laugh.
What would you do if I shut you outside,
To stand in the rain
and catch cold so you died?

I'm the school bully !
The classroom cheat.
The nastiest playfriend,
You ever could meet.
I'll stick pins in your fingers
And tread on your feet...

Maybe a cigarette burn on your arm
Would change your expression to one of alarm,
I'll drag you around by a lock of your hair
Or give you a push at the top of the stairs...

I'm the school bully !
The classroom cheat.
The nastiest playfriend,
You ever could meet.
I'll put glass in your dinner
And spikes in your seat...

If your child ain't all he should be now
This girl will put him right.
I'll show him what he could be now
Just give me one night.
I'm the Gypsy - the acid Queen.
Pay before we start.
I'm the Gypsy - The acid queen.
I'll tear your soul apart.

Give us a room and close the door
Leave us for a while.
Your boy won't be a boy no more
Young, but not a child.
I'm the Gypsy - the acid queen.
Pay before we start.
I'm the Gypsy the acid queen.
I'll tear your soul apart.

Gather your wits and hold on fast,
Your mind must learn to roam.
Just as the Gypsy Queen must do
You're gonna hit the road.

My work is done now look at him
He's never been more alive.
His head it shakes his fingers clutch.
Watch his body writhe
I'm the Gypsy - the acid queen.
Pay before we start.
I'm the Gypsy - I'm guaranteed.
To break your little heart.

Ever since I was a young boy,
I've played the silver ball.
>From Soho down to Brighton
I must have played them all.
But I ain't seen nothing like him
In any amusement hall...
That deaf dumb and blind kid
Sure plays a mean pin ball !

He stands like a statue,
Becomes part of the machine.
Feeling all the bumpers
Always playing clean.
He plays by intuition,
The digit counters fall.
That deaf dumb and blind kid
Sure plays a mean pin ball !

He's a pin ball wizard
There has got to be a twist.
A pin ball wizard,
S'got such a supple wrist.

'How do you think he does it? I don't know!
What makes him so good?'

He ain't got no distractions
Can't hear those buzzers and bells,
Don't see lights a flashin'
Plays by sense of smell.
Always has a replay,
'n' never tilts at all...
That deaf dumb and blind kid
Sure plays a mean pin ball.

I thought I was
The Bally table king.
But I just handed
My pin ball crown to him.

Even my usual table
He can beat my best.
His disciples lead him in
And he just does the rest.
He's got crazy flipper fingers
Never seen him fall...
That deaf dumb and blind kind
Sure plays a mean pin ball.!!!!!

Outside the house Mr. Simpson announced
that Sally couldn't go to the meeting.
He went on cleaning his blue Rolls Royce
and she ran inside weeping.
She got to her room and tears splashed the picture
of the new Messiah.
She picked up a book of her fathers life
and threw it on the fire!

She knew from the start
Deep down in her heart
That she and Tommy were worlds apart,
But her Mother said never mind your part...
Is to be what you'll be.

The theme of the sermon was come unto me,
Love will find a way,
So Sally decided to ignore her dad,
and sneak out anyway!
She spent all afternoon getting ready,
and decided she'd try to touch him,
Maybe he'd see that she was free
and talk to her this Sunday.

She knew from the start
Deep down in her heart
That she and Tommy were worlds apart,
But her Mother said never mind your part...
Is to be what you'll be.

She arrived at six and the place was swinging
to gospel music by nine.
Group after group appeared on the stage
and Sally just sat there crying.
She bit her nails looking pretty as a picture
right in the very front row
And then a DJ wearing a blazer with a badge
ran on and said 'here we go!'

The crowd went crazy
As Tommy hit the stage!
Little Sally got lost as the police bossed
The crowd back in a rage!

But soon the atmosphere was cooler
as Tommy gave a lesson.
Sally just had to let him know she loved him
and leapt up on the rostrum!
She ran cross stage to the spotlit figure
and touched him on the face
Tommy whirled around as a uniformed man,
threw her of the stage.

She knew from the start
Deep down in her heart
That she and Tommy were worlds apart,
But her Mother said never mind your part...
Is to be what you'll be.
Her cheek hit a chair and blood trickled down,
mingling with her tears,
Tommy carried on preaching
and his voice filled Sally's ear
She caught his eye she had to try
but couldn't see through the lights
Her face was gashed and the ambulance men
had to carry her out that night.

The crowd went crazy
As Tommy left the stage!
Little Sally was lost for the price of a touch
And a gash across her face! OOoooh.

Sixteen stitches put her right and her Dad said
'don't say I didn't warn yer'.
Sally got married to a rock musician
she met in California
Tommy always talks about the day
the disciples all went wild!
Sally still carries a scar on her cheek
to remind her of his smile.

She knew from the start
Deep down in her heart
That she and Tommy were worlds apart,
But her Mother said never mind your part...
Is to be what you'll be.

If I told you what it takes
to reach the highest high,
You'd laugh and say 'nothing's that simple'
But you've been told many times before
Messiahs pointed to the door
And no one had the guts to leave the temple!

I'm free-I'm free
And freedom tastes of reality
I'm free-I'm free
And I'm waiting for you to follow me.

Tommy: Welcome to the Camp,
I guess you all know why we're here.
My name is Tommy
And I became aware this year

If you want to follow me,
You've got to play pinball.
And put in your earplugs
Put on your eyeshades
You know where to put the caulk

Hey you getting drunk, so sorry!
I've got you sussed.
Hey you smoking Mother Nature!
This is a bust!
Hey hung up old Mr. Normal,
Don't try to gain my trust!
'Cause you ain't gonna follow me any of those ways
Although you think you must

Guests:
We're not gonna take it
We're not gonna take it
We're not gonna take it
We're not gonna take it

We're not gonna take it
Never did and never will
We're not gonna take it
Gonna break it, gonna shake it,
let's forget it better still

Tommy: Now you can't hear me,
your ears are truly sealed.
You can't speak either,
your mouth is filled.
You can't see nothing,
and pinball completes the scene.
Here comes Uncle Ernie to guide you to
Your very own machine.

Guests:
We're not gonna take it
We're not gonna take it
We're not gonna take it
We're not gonna take it

We're not gonna take it
Never did and never will
Don't want no religion
And as far as we can tell
We ain't gonna take you
Never did and never will
We're not gonna take you
We forsake you
Gonna rape you
Let's forget you better still.

Tommy:
See me.
Feel me.
Touch me.
Heal me.

Listening to you,
I get the music.
Gazing at you,
I get the heat.
Following you,
I climb the mountains.
I get excitement at your feet.

Right behind you,
I see the millions.
On you,
I see the glory.
From you,
I get opinions.
From you,
I get the story.